JSngry

Hey, you got me to buy it! Cool! Glad somebody noticed.

Isn't this the gig where Trane broke in "Resolution" in a different key? I know a tape of that exists, because somebody played it to me over the phone.

Marzeet Oates Dozee Doats Little Lambsy Tivey

WORD!!!!

Tom Parker Porker Davis David McDavid

Where have you gone, Robert McCollough?

You know, in clubs and stuff. I WISH I could dance. But I was born with ankles and feet that just don't move like the rest of me does. The tyranny of congenitality. And I got kinda bad knees these days. From the knees up, I'm good to go. But that's not how you dance, is it... Anyway, when I hear a good fluid dance beat, my spirit soars. To me, dancing and singing are the most natural forms of expression. No instruments or other tools needed, just you and your body channeling the lifeforce. Shortest distance between two points. Of course there's sex, but that's another thing altogether. If I could dance and/or sing really well, I'd be the happiest person alive, I think. But alas, such is not my fate. How many of y'all dance for pleasure? Ballroom, salsa, moshing, whatever. Myself, I really dig a modern, latin-y/disco-y/funky/swing-y groove, nothing heavy or pounding, just a fluid, elegant flow that allows for and encourages a spontaneous bodily engagement. To me, feeling that is as good as it gets. I want to dance like there's no tomorrow. And i do - inside. Ok.

The Mudville Nine The Chicago Seven The Jive Five

Steve Miller Reggie Miller Mrs. Miller

That's a good observation. I mean, you can fly around on the instrument, guys like Rosolino, Watrous, & Ray Anderson have proved that, and I dig Anderson big lots, Rosolino quite a bit, & Watrous I respect. But yeah, you gotta work harder on the bone to do what's already hard. There's definitely other ways to approach the instrument, ways that are more "intrinsic" to the nature of the instrument, and overall, it's the cats who hit it that way that I tend to gravitate towards. Just like I tend to prefer bass player who play a bass like a bass rather than a like a guitar. It's all good, ya'know, but I do have my personal preferences. Sue me. The thing I've always dug about Grachan's playing and writing is the high degree of specificity, the total lack of superfulousness. And that's not equating "high-density" with "lack of specificity" either. It just means that when your playing and writing is as totally devoid of "filler" as Moncur's has been over the years, you damn well better be able to say exactly what you want to say. With a few exceptions (notably some things from a few years ago where it sounded like his chops were pretty much gone), that's what he's done, and the clarity of communication of vision that's resulted has been something that I very much appreciate. No ambiguity of intent, no foo-foo, no licks to kill time waiting for a real idea to pop up. In short, no "diversion" from the core expression. "Shortest distance between two points" and all that.

Jim Adler Brian Loncar Dr. Booth

Julia Duffy Duffy Jackson The Jackson In Your House

Love is strange.

1 - What was the documentary about Newark that he was shown in? 2 - Recollections about his tenure w/Ray Charles 3 - Frequency/other details of live gigs w/McLean 4 - His personal philosophy about composing 5 - Does he feel that "jazz in general" today is "about" the same thing(s) that it was in his younger days?

George Dickel George Gobel Jorge Ben

Tried (and failed) to stir up some interest in this one a while back: http://www.organissimo.org/forum/index.php...l=raymond+scott

Jimmy McGriff Jack McDuff Eugene McDaniels

http://www.dustygroove.com/jazzlp3.htm#39876

Cassius Clay Lew Alcindor Bobby Moore

The wildest Sharrock w/Mann is on the Hold On, I'm Coming side recorded at Newport/NY in 1972. That's one of the better Mann sides, period.

Same here. Besides, how many people named Grassella Oliphant could there be?

Mr. Clean The Ajax White Knight Josephine the Plumber

That's some BAAAAAAD shit! For that matter, check out Air's "The Jick" from Open Air Suit. But again, that too is a different kind of free and a different kind of funk, if you're splitting hairs, and I swear I'm not.

Robert McCollough on the live version of "Super Bad". After that, almost(?) everything else sounds like wishful thinking, including Jimmy Parker's noble effort on "Escape-Ism". Robert McCollough solo on that cut is the ne plus ultra of Free Funk. Case closed. "Blow me some TRANE, Brother!" Although, Roscoe's & Lester's work on Melvin Jackson's Funky Skull is/are the exception(s) that prove the rule. That's a different kind of free and a different kind of funk, but who's splitting hairs?

Spoonie G The Sequence Super Wolf